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New Releases The experimenter on the flute Tilmann Dehnhard has just published “The New Flute”, a book about the latest flute-playing techniques. In this interview he talks with Christina Meglitsch-Kopacek about pushing boundaries, individualism, experiments and free improvisation. Tilmann Dehnhard © Nikolaus Logothetis At your concerts we hear many sounds that are not expected to be heard in a classical flute concert. What are ideal sounds for you? Dehnhard: The ideal sound of a flute goes back to a playing and teaching tradition that is all about a clear sound, a beautiful but quite uniform sound. There is, however, a wide range of other tone colours that enrich the flute, especially as a solo instrument. Being an improviser means I can reach into this big potful of sounds and pull out whatever I want. What happens between the two cornerstones of composition and improvisation? Dehnhard: Improvisation is often referred to as spontaneous composition. On the other hand, there is the idea that composition is written or frozen improvisation. Most great composers were not only able to compose music, but were also good instrumentalists. Compositions such as those written by Paganini were only possible thanks to his incredible specialisation on the instrument. Unfortunately we are losing some of this today. There are many musicians who function as the mouthpieces of composers and can no longer make their own voice heard. The term “extreme flute” was coined with reference to you. Dehnhard: (laughs) Yes, the press likes such phrases … they’re catchy. I think the term is quite fitting for The New Flute… Dehnhard: I think it is exciting to pick up the flute, try a technique and then take it to its extreme limits. Many people cannot go into this “let’s try it out!” mode, or have this urge to experiment. That’s a pity. This free and unobstructed approach to the instrument makes many things possible. It is about “being allowed to do anything” – you can experiment and do anything you want with your instrument! So it’s curiosity and a sense of fun that drives you on? Dehnhard: Yes, exactly, the spirit of discovery. If you put something small in the hand of an improviser, maybe a matchbox, things begin to happen. Crackling, tapping, rustling, and a piece of music is the result. This inner approach to musical material is not possible without curiosity. Improvisation is an adventure and a gamble. And when good music results, it is also lots of fun. How would you suggest approaching The New Flute? Dehnhard: People are most motivated when they are fascinated by something. So when you pick up the book and, for example, circular breathing seems like magic to you, then you should begin with that. Now is the best time to start, even if you have only been playing the flute for six months. There is nothing in this book that takes long to grasp. Within certain limits, you can start using the techniques in your playing after a couple of days. What do you want to get across to your students? Dehnhard: If people read my book or come to one of my workshops and then pick up their flute and start to explore it, that is already the most important thing. And when they find a technique interesting and want to use it to make music they have arrived at a place from which they become mature musicians who try, experiment, search and find. That is possible at any level of musicianship.
THE FLUTE COLLECTION Emmanuel Pahud Opera Highlights of the 19th Century The Flute Collection – Emmanuel Pahud presents is the realisation of Emmanuel Pahud’s long-cherished wish to make selected works that have accompanied and inuenced his career as a autist accessible to others. To achieve this, he has created a rich collection of familiar, unusual, rediscovered and new works that is simply beyond compare. The collection opens with music from the 19th century, which produced some outstanding arrangements of opera arias and paraphrases for ute and piano. Claude-Paul Taffanel Fantasy on “Der Freischütz” by Carl Maria von Weber for ute and piano UE 35316 Giuseppe Verdi Fantasy on “La Traviata” for ute and piano UE 35314 Pyotr Ilyich Tchaikovsky Lensky‘s Aria from the opera “Eugen Onegin” for ute and piano UE 35313 Franz and Karl Doppler Fantasy on “Rigoletto” by Giuseppe Verdi for 2 utes and piano UE 35315 These piano versions also serve as the piano scores for Yoel Gamzou’s orchestral versions, which have likewise been published by Universal Edition. Universal Edition
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